AudioMedia - November 2008 - (Page 43)

> CARS But: “It means that when you get on the stage, Approaching the car recording on Bond, the sound with everything up, you can always go back on team called on the expertise of one Russell Edwards, something you might have cleaned up too much. who normally takes care of the car-sound on UK “…Simon [Simon Chase, Dialogue Editor] and car-head TV show Top Gear. Martin Cantwell (Sound . I have been working together for a long time Designer): “You need to be able to cover everything, so and we’ve re ned this template, which means we we had four recorders running on virtually everything. can both be working pretty much consistently We cover it from lots of different angles – you can only right up to the end of the nal – just tweaking; constantly tweaking.” do a fly-past two or three times, because it starts getting “We like each-other,” continued Joseph, speaking expensive. With four recorders on three passes, at different of the whole post team. “I honestly think one of the perspectives, you get twelve recordings… We’re pretty used to … most important things is to be like a family, because recording cars, but I thought he must have a few tricks, and he did… we do spend an awful lot of time together. At Real He brought something extra to the recordings, which is what we need every World [Real World Post, site for pre-mix], even time we go and do this stuff.” though Mike lives 40 minutes away from there, we “We use the little DPAs for recording, but he also brought some little TRAMs. We stuck one of the DPAs underneath the were actually staying in a house on-site, and would wheel arch and he had some big fluffies… One looked like a Tribble from Star Trek It’s a very brittle sound when you get often stay in the evenings and have a meal and a that close to stuff. You know that indentation you get with a car door handle? He stuck a mic in that, so it was like a faring – beer. The day would go from eight in the morning it’s pretty obvious when you think about it.” to 11 at night without anyone thinking, ‘we have to escape from these people’. Being friends really “We used an SM58 on the exhaust, rather than one of our electret or phantom-powered mics And he put it in a sock. I makes a di erence. though hepage 1 to9/06/08of hi-tech stuff, Page came out with a Marks and Spencers sock!” adAT4050(audio media)186x129mm.qxd:Mise en was bound have loads 16:18 and he 1 > AT4050: created by one, used by everyone. Before a product becomes so legendary that it is used by everyone, someone has to create it. When Akino-san, an employee of Audio-Technica for many years, spent hundreds of hours on the creation of the AT4050, he was working to obtain the AT4050’s superb quality of sound reproduction. Not only did he succeed in his ambition, but today, the AT4050 is used all over the world in a wide variety of applications, from recording studios to live sound to broadcast. And when he’s not creating legends, Akino-san loves the serenity of fishing. Audio-Technica’s range of studio microphones start from just £100*. To find out more, email info@audio-technica.co.uk or telephone +44 (0) 113 292 0463. *AT2020 suggested retail price www.audio-technica.com AUDIO MEDIA NOVEMBER 2008 43 http://www.audio-technica.com

Table of Contents Feed for the Digital Edition of AudioMedia - November 2008

AudioMedia - November 2008 Contents Recording News Post News Broadcast News Geofocus: Italy What's Up UK AES Review For the Record Studio Snapshot: Aquarium Abbey Road Plug-ins Brilliance Pack Neumann TLM67 Mercenary Audio KM-69 IZ Technology ADA Final Cut Special: Bond TC Powercore 6000 EP Productions Nagra VI Product Sampler: Location Tools Video Guide AMSR News Shure KSM9 Big Beach Boutique 4

AudioMedia - November 2008

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